Anastasia Kobekina shares what shapes her artistry: Elgar Cello Concerto’s vast emotional palette, stories overheard offstage, and the moment she finally breathes out.
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I think it’s the whole journey. Of course, the beginning is a very powerful opening—and it’s one of the most iconic openings for the cello in the repertoire—so it’s a really great moment. But the journey through the whole concerto… there are so many moments. The palette of emotions is so big, and it speaks about the human experience in a very deep and profound way.
Well, I learned this concerto with the recording of Jacqueline du Pré—the one and only—who made this concerto her own, and of course made this piece so popular. I must admit that I haven’t been listening to it in the past years, because her interpretation is so influential. I would like to develop my own.
I think everything—talking to people, meeting different personalities. I’m very inspired by people, by their stories. And I have many hobbies, and I listen not only to classical music, so I think that’s also enriching in the way I approach things.
I think I got the advice that one shouldn’t see you working on stage. And that’s very true for me, because I would like the audience to see the joy of sharing music—and they shouldn’t know how many hours of work are behind that.
I always feel so happy, because it’s so stressful for me to play concerts. I get so nervous. And I think the moment I walk off the stage, I just feel so happy. I would say the ritual would be maybe just jumping—or breathing out.
